Music Trade Review

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VOL. XVI. No. 15.
published Every Saturday.
DE KOVEN AND HIS CRITICS—THE TUNING
SCHOOL OF THE NEW ENGLAND CONSERV-
ATORY OF MUSIC — MUSIC AT THE
WORLD'S FAIR—WILL IT BE REP-
RESENTATIVE IN CHARACTER—
WILL THE EAST BE FIT-
TINGLY HONORED ?
MR. G. H. WILSON AND THE NEW YORK NEWSPA-
PERS—CARL BRAMBACH—A SUCCESSFUL IN-
VENTOR—RECENT ADDITIONS TO THE
^OLIAN MUSIC LIBRARY—A MIL-
WAUKEE SCHOOL OF ART PHI-
LOSOPHY—GLADIATORIAL
UTTERANCES—A ONE
HUNDRED
AND
NINETY POUND
MAN.
HpL, AM glad that Mr. Reginald De Koven 's
O
opera, '' The Fencing Master,'' has been
such a decided success since its presentation in
New York. Our musical domain is filled with
narrow-minded and envious creatures, and con-
sequently Mr. De Koven has experienced con-
siderable barking at his heels. There is a bigger
and more vicious class of individuals active in the
same sphere, and from these Mr. De Koven has
suffered more than from mere barking. Those
persons are akin to the dangerous mongrel one
meets on a country road—the dog that skulks
along the hedge until he finds a favorable op-
portunity for the exercise of his fangs, with a
clear leeway for a quick retreat. De Koven, as
a writer, composer, and man, is open to criticism,
of course, but there is quite a difference between
criticism of an individual and his works, and
some of the cowardly attacks made upon Mr. De
Koven by several of the music critics and a cer-
tain musical journal of this city.
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While every journal is responsible for the ut-
terances of its editorial columns, there is ample
room afforded by the editorial " w e " for per-
sonal evasion of responsibilty when it comes to a
question of authorship in matters of that nature.
And when an editor or writer presumes upon
the opportunity afforded by that department
to satisfy some paltry, ignoble spite, as in the
case pointed out, it is not merely a manifestation
of disregard for the ordinary amenities of pro-
fessional fellowship, but a manifestation of con-
•
|teuv Yor^, [fovember 19,1892.
temptible and base characteristics in the writer,
redeemed only by the apology offered by its own
eeble and narrow-minded origin. Mr. De Ko-
ven is charged with having stolen the best of
his songs, and with having partly stolen others
by purchasing them and assuming the author-
ship, but vague charges of this kind have been
made against nearly every successful composer
since time immemorial.
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The very capable and eminent critics who have
lent themselves to this cafe or barroom conspir-
acy—a conspiracy hatched in the atmosphere
of palaver and a mutual jealousy of Mr. De Ko-
van—ought to be ashamed to attempt to '' sand-
bag " the latter's reputation with such a petty
weapon. But such methods are familiar to all
of us. As for the editorial referred to, I have
said as much as I care to under the circum-
stances. I am glad that De Koven is not only
able to exist, but to prosper in the face of such
opposition. And De Koven is still music critic
of the World, notwithstanding the paragraph
put in circulation by the paper in question in
its issue of November 9th. I am glad of that too.
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The tuning school at the New England Con-
servatory is a decided financial success. Nearly
all of those who took part in the interesting
though brief controversy which was recently
carried on in these columns on the question of
the practical advantages of the school, conceded
that point. The school's usefulness, and its
capacities of usefulness, are meanwhile still
open for discussion. I have been attracted to the
subject by the subjoined announcement emanat-
ing from the Conservatory. The italics are
mine. Here it is :
'' The work of the tuning school has begun
with increased vigor. Additional facilities for
thorough and effective work have from time to
time been added, both in the Conservatory and
factory, until to-day the fine equipment of this
department leaves nothing to be desired. There
is a marked increase in the department, an ex-
ceptionally large number of very earnest young
men having enrolled for the full year's course.
Many of last year's graduates have obtained
situations with good, responsible business firms,
where their work is subject to the strictest
scrutiny. There has been a greater demand for
graduates of our tuning school this year than
ever before, and it is very satisfactory to feel
that so substantial and practical an acknowledg-
ment of success is being made.''
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Chicago should be treated only to a propor-
tionate share of recognition in the musical exer-
cises at the Exposition. That is to say Chicago
or Western musicians should not be permitted
to dominate these events to the injury of the na-
tional, and, in some instances, international spirit
which should characterize them. If the musical
and trade press of Chicago, however, can be ac-
cepted as evidence in that direction, there is a
feeling of sectionalism abroad in musical circles
S3.00 PER YEAR.
SINGLE COPIES, 10 CENTS.
which is unworthy of the occasion and of the
journals and men fostering it. I am sorry to see
Mr. G. H. Wilson, of Boston, one of the Musical
Bureau, sharing in the prejudices of his sur-
roundings. In his current Musical Herald of
the United States—the new title of the Boston
Musical Herald—now published in Chicago,
he says: "Notwithstanding the sneer on
face of New York newspapers—which will
soon pass away—the Exposition is to-day a
mighty factor in the entire world." That
metaphor about the '' sneer on the face of
New York newspapers" must be pardoned. Mr.
Wilson is a high-class music critic and deals in
metaphor. Why is it, however, that*they are
always picturing the East as inimical to the
Exposition ?
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He has also the following to say : '' This vol-
ume of the Herald will cover the period of the
World's Columbian Exposition. Music at the
Exposition will be a notable feature, and the
association of the editor of the Herald with the
Bureau of Music provides extraordinary oppor-
tunities for full and accurate information preced-
ing the opening in May.'' I have italicized the
above. If an effete New York editor under
similar circumstances displayed such bad taste
he would, doubtless, be entitled to a pardon.
"The Reviewer " meantime is half afraid that
Chicago is not all that they would have us be-
lieve, and I half suspect that the musical
management is composed of men with human
frailties.
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Mr. Carl Brambach, who has recently been
honored by the Parisian Inventors' Academy, as
announced last week, is one of the most expert
tuners in New York. In Germany he tuned for
some of the famous virtuosi. Good tuners are
very scarce, but men of Mr. Brambach's peculiar
calibre can be counted on one hand, as far as
New York is concerned. He is furthermore a
toner of the highest excellence and a '' fine regu-
lator " of equal ability. The capacity to " fine
tune" a piano quickly, and at the same time to
get every unison and octave in a " solid '' and
staying condition is not attained easily. Mr.
Brambach is also gifted with many of the musi-
cal attributes possessed by his brothers Joseph—
the noted German composer—Stephen and Alois
Brambach, and improvises with great facility
and taste on the piano. As an inventor he is
coming to the front with remarkable rapidity.
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Among the newest additions to the music
library of that unique instrument, the ^Eolian, I
notice " Oh, Promise Me," from De Koven's
'' Robin Hood,'' a selection from '' Feramors,''
Rubinstein's operatic work ; and marches by
such representative American composers as
Sousa, Meacham and F. P. Baker. I am glad
that Sousa's "Washington Post March" is to
be had in that series. The ^Holian edition of
(Continued on page312.)